Quotes About Theatre

I never saw myself as being a cop on TV. I come from theatre, and I always go back every couple of years.

I think when you're coping with grimness perhaps you do get sillier and more escapist in what you want to see at the theatre.

I think theatre at its best looks into the dark corners; clearly, my dark corners are full of doom.

I've been so grateful for writing, and writers and, actually I would say that that is the cornerstone of my career, the writing. That's the truth of the work that I've done in theatre and it's definitely the case for the work that I've been lucky enough to do on screen.

How do we compete with the 3D superscreens at the cineplex? We just make it better - because theatre is better because it's live. Instead of trying to be like the poor cousin, we need to accept that we're the king.

Theatre is done largely for the love of the craft. Television makes you famous. And films immortalize you. That's the relationship between the three.

Growing up in Seattle, I had the opportunity to take classes since I was 7 years old. I did theatre. I auditioned for film, television, commercials, and built up not just a resume but also some confidence. I learned how to master my craft before arriving in Los Angeles.

Learning a craft is up to you, whether you are doing theatre or movies.

Whenever I have to work on my skills or add to my craft, I do theatre. It's one place where I can learn a lot as an actor.

No matter how creatively satisfying theatre might be, it is a poorly-paid medium, which is sad.

For a stage actor to be there with the words and the creator of the words - it doesn't get much better than that.

More often than not, theatre critics bubble with enthusiasm about plays that are, when all is said and done, really pretty average.

I don't mean to be oily, but critics are very much part of the theatre.

It's predominantly a male society, predominately a male culture, predominantly a male theatre, and predominantly male critics, but that's changing, definitely.

It's incredible how London-centric the theatre world is. Certain actors won't travel away from London anymore for work; practitioners often aren't taken seriously enough unless their work is seen in London; and it's sometimes very difficult to get national critics to review shows - especially if there's a clash with a London press night.

I did watch 'Ee Varsham Sakshiga' with fans in the theatre and I saw them enjoying every bit of the movie. The critics would have had their own opinions, though.

I spent seven years in clubs in England, Australia, etc. Not all comedians cross over to sell out in a theatre.

We are not brain surgeons. We are not curing cancer. We are not finding the next cure for Alzheimer's. We are simply and merely entertainment. We take on and wear the masks of characters. That's what we're paid to do.

In theatre, after the curtain rises, it's all about me. I can either elevate myself with my performance or be mediocre.

I was obsessed with 'The Swish of the Curtain' by Pamela Brown when I was a child. It's about a group of kids who create their own Amateur Theatre company. I was already absolute in my decision to be an actor by this point, but if anything, it confirmed to me that I was on the right path.

Theatre is difficult. It's not that I'm afraid of doing 'one takes' or shots, but it's about being able to live one character for several hours on a daily basis!

I was very excited and interested as a background dancer or as a theatre actor or when I was working on TV, or even on the film which didn't do well, like 'Byomkesh.'

From the ages of 5 to 17, I was a competitive dancer. I even went to an arts high school and double-majored in dance and theatre.

When I came into the acting profession, it was quite hierarchical. You didn't sit at the same table as the leading actor. Sir Laurence Olivier, Sir John Gielgud... these were very, very intimidating and powerful people.